THE PEOPLE’S PAINTER 26 May – 25 Sept 2011 | Iziko South African National Gallery 2 TRETCHIKOFF THE PEOPLE’S PAINTER 26 MAY – 25 SEPTEMBER 2011 | IZIKO SOUTH AFRICAN NATIONAL GALLERY 3

accessible to younger generations, and never in any quantity.

This exhibition aims to present a representative sampling of his work in its original form and ask new and old audiences to look afresh at the legacy of one of the best-known artists of his day: an artist that MESSAGE Message almost everyone had an opinion about, but who was hardly ever included in texts emanating from the FROM THE from the academy and formal institutions of art, nor represented in museums or MAYOR curator institutional collections. It is not my intention to argue that Tretchikoff was a great artist who It gives me great pleasure to and attended his shows in record This exhibition is the first major African artist, despite the fact that was neglected and marginalized in introduce the official catalogue of numbers. It is very fitting that this survey of the work of Vladimir his Russian birth was frequently his lifetime – rather I have attempted one of our city’s best-known and first retrospective exhibition of his Tretchikoff (1913-2006). The fact alluded to in the press. to present original work in a fresh arguably most neglected artists. work finally takes place in the city he that it takes place in the Iziko context, that of the world we now Vladimir Tretchikoff arrived in Cape called home for almost six decades South African National Gallery In his lifetime he generated an live in, and to a new audience, you Town in 1946 to be reunited with and in which he was a well-known is, I believe, of great significance. enormous quantity of journalism the viewer. I leave the assessment of his wife and daughter who had been and recognisable figure ‘about town’ Tretchikoff only exhibited in an and published criticism (mostly his worth in your hands, as is fitting evacuated here from . He for the same period of time. institutional gallery once in his hostile) and continues to figure for someone who carries the epithet fell in love with and lifetime and only once thereafter, in popular culture as well as the ‘the people’s painter’ amongst other, made its people, fauna and flora the I welcome this show and the last year, as part of ‘1910-2010: memories of many people in less flattering ones. dominant subjects of his work from gathering together of so many of From Pierneef to Gugulective’ at this the English-speaking parts of that point. Even his most famous his works, back in the place where institution. During the period of his the British Commonwealth and I hope that whatever you decide about work, the Chinese Girl, portrayed most of them were painted, to be major activity, from the late 1940s to especially South Africa. However, the value or otherwise of the work on a young Capetonian, Monika Pon, seen anew by another generation the mid-1970s he always showed his these memories and many of the display, the exercise of bringing these who attended the opening event of and assuring that his presence work at accessible venues, especially opinions expressed about him works together from four continents Tretchikoff: The People’s Painter. still remains firmly in the City department stores. (good or bad) are, I would argue, has been worthwhile and that, just as of . coloured by the (often faded) in his lifetime, he will generate debate Much has been made of the Tretchikoff arrived in Cape Town prints of his work that are still and discussion. Whether one loves fact that ‘the arts establishment’ Alderman Patricia de Lille in 1946 to join his family who had to be seen in homes and antique or loathes Tretchikoff, I think it’s still and Tretchikoff were frequently Executive Mayor of Cape Town been evacuated here during the shops in large numbers. His hard to ignore him. at loggerheads, but one thing is Second World War and for almost original work, viewed by literally certain: a great many people in this six decades made this city his home, hundreds of thousands of people Andrew Lamprecht city and the world loved his work always insisting that he was a South from the 1950s-70s, has rarely been Curator 4 TRETCHIKOFF THE PEOPLE’S PAINTER

critics, curators and dealers who happen to be in power, for whatever reasons, in turn regulate who joins their circle of power. The showing of Tretchikoff: The People’s Painter is an opportunity for the public and for the art world’s powermongers to revisit the question of how value is established and ascribed as art is MESSAGE circulated in different public arenas. It is also an opportunity for us all to consider precisely who “the people” FROM of the exhibition’s title in fact were, or are. Are they our parents and grandparents? Could they be us? Iziko Do they belong to a particular racial or economic group? The numbers of visitors to the exhibition from The presentation of Vladimir reproductions of his works at far and wide, of different races, Tretchikoff ’s first ever museum relatively affordable prices, ensured classes, genders and ages, of different retrospective, Tretchikoff: The that he was known, and loved, aesthetic predilections, suggest that People’s Painter, at the Iziko South across sectors of South African perhaps Tretchikoff’s art in fact has African National Gallery in 2011 society between the 1950s and the a wider appeal than the press and invites a re-evaluation of several 1970s. Tretchikoff ’s proliferation the art establishment has, or still is, processes and values often taken of his own work in this way was willing to acknowledge. for granted in the art world. The a response to his general critical first, and most obvious, perhaps, rejection, but also to his exclusion In staging this exhibition ISANG is the question of aesthetic quality, from art galleries and museums in is not endorsing a particular view and a related matter, the artist’s his time. Shortly after his arrival in of Tretchikoff, or reifying his prowess. The press has, for decades, South Africa in 1948 Irma Stern, skill or importance as an artist in preyed on an apparent lack of both supported by other prominent local South Africa. Instead, Tretchikoff: in Tretchikoff ’s paintings. There artists, wrote a letter to several The People’s Painter constitutes is no more appropriate turn of galleries calling for Tretchikoff ’s an step in the museum’s ongoing phrase to express that Tretchikoff exclusion from their schedules. journey of self-rediscovery, as we was “trashed” by the critics, and strive to be an institution that is as their ire was certainly fuelled by The success of Stern’s gesture reflects aware of its own role in historical his achievement of local renown a tendency that is persistently at exclusions, particularly in South in spite of this. His indefatigable play in the art world, both locally Africa’s apartheid years, as it is of its pursuit of commercial success, and internationally, even if less mandate to reflect the present. through showing his work at overtly than in the days of Stern department stores and selling and her colleagues. Those artists, Iziko Museums 6 TRETCHIKOFF THE PEOPLE’S PAINTER 26 MAY – 25 SEPTEMBER 2011 | IZIKO SOUTH AFRICAN NATIONAL GALLERY 7

01. 02. 03. 04. 13. 14. 15. 16. Proteas Red Hot Pokers Poinsettias in a Vase Proteas Chrysanthemums in the Sky Yellow Cannas Poinsettias in a Window Magnolias in Chinese Vase Undated 1950 Undated Undated 1950 1949 Undated Undated Oil on canvas Oil on canvas Oil on canvas Oil on canvas Oil on canvas Oil on canvas Oil on canvas Oil on canvas Private Collection Private Collection Private Collection Private Collection Private Collection Private Collection Private Collection Private Collection

05. 06. 07. 08. 17. 18. 19. 20. Yellow Daffodils Chrysanthemums Next to a Vase Three Yellow Daisies Hydrangeas Proteas in Chinese Vase The Atom Prisoner of War Beggar with Golden Frame 1949 1951 Undated Undated Undated Undated [ca. 1950] [before 1946] Oil on canvas Oil on canvas Oil on canvas Oil on canvas Oil on Canvas Oil on canvas Oil on canvas Oil on canvas Private Collection Private Collection Collection of Jeannette de Vigier Private Collection Private Collection Private Collection Private Collection Private Collection

09. 10. 11. 12. 21. 22. 23. 24. Pink Magnolias in Black Vase Chrysanthemums Dahlias, with Artist’s Reflection Red Lilies Artist’s Palette Self Portrait Body and Soul Barbara in the Bath 1959 Undated Undated 1948 Undated 1962 1948 Undated Oil on canvas Oil on canvas Oil on canvas Oil on canvas Oil on canvas Oil on canvas Oil on canvas Oil on canvas Private Collection Private Collection Private Collection Private Collection Private Collection Private Collection Collection of Jeannette de Vigier Private Collection 8 TRETCHIKOFF THE PEOPLE’S PAINTER 26 MAY – 25 SEPTEMBER 2011 | IZIKO SOUTH AFRICAN NATIONAL GALLERY 9

25. 26. 27. 28. Though shalt not covet thy 29. 30. 31. Springtime Beatnik Girl Woman with Dove Ten Commandments neighbour’s goods Daily Needs Chinese Girl Malay Boy Undated Undated Undated Thou shalt have no other Undated 1952 1949 Oil on canvas Oil on canvas Oil on canvas gods before me Oil on canvas Oil on canvas Oil on canvas Private Collection Private Collection Private Collection [1977] Private Collection Private Collection Private Collection Oil on Canvas (10 panels) Sponsored by the Chinese Embassy, Private Collection South Africa

Thou shalt not make unto thee Take not the name of the Lord Remember that thou keep holy Honour thy father and mother 32. 33. 34. 35. any graven image thy god in vain the Sabbath day Flower Seller Flower Seller Vegetable Seller Herb Seller 1949 Undated 1951 1948 Oil on canvas Oil on canvas Oil on hessian canvas Oil on canvas Private Collection Private Collection Private Collection Private Collection

Thou shalt not kill Thou shalt not commit adultery Thou shalt not steal Though shalt not bear 36. 37. 38. 39. false witness Crayfish Seller Rough Study for Javanese Newspaper Seller Boy with Melon 1951 Woman Undated 1959 Oil on canvas Undated Oil on canvas Oil on Canvas Private Collection Oil on board Private Collection Private Collection Private Collection 10 TRETCHIKOFF THE PEOPLE’S PAINTER 26 MAY – 25 SEPTEMBER 2011 | IZIKO SOUTH AFRICAN NATIONAL GALLERY 11

40. 41. 42. 43. 52. 53. 54. 55. Rough Study for Lady of Orient Portrait of a Zulu Maiden Ndebele Woman Voortrekker Girl Balinese Dancer Hindu Dancer Nude Study of Lenka Red Jacket Undated 1957 Undated 1949 Undated 1951 1945 [before 1946] Oil on board Oil on canvas Oil on canvas Oil on canvas Oil on canvas Oil on canvas Sanguine chalk on paper Oil on canvas Private Collection Private Collection Private Collection Private Collection Private Collection Private Collection Collection of Yvonne du Toit Private Collection Sponsored by Big Blue Sponsored by MAC Sponsored by Stanislaus

Reproduction not permitted

44. 45. 46. 47. 56. 57. 58. 59. Ndebele Chief Zulu Maiden Zulu Maiden Self-Portrait Lenka’s Family Malaysian Princess Rainy Day Lisette Undated 1958 1956 1944/50 [before 1946] [before 1946] [1968] 1950 Oil on canvas Oil on canvas Oil on canvas Oil on canvas Oil on canvas Oil on canvas Oil on canvas Oil on canvas Private Collection Private Collection Private Collection Private Collection Private Collection Sanlam Art Collection Private Collection Private Collection Sponsored by Charles Bothner in loving memory of Paul and Andre Bothner

48. 49. 50. 51. 60. 61. 62. 63. Weeping Rose After the Masquerade Dying Swan Balinese Girl Malay Girl Malay Bride Malay Couple 1949 1952 1956 1949 [ca. 1958] [ca. 1948?] 1949 1949/51 Oil on canvas Oil on canvas Oil on canvas Oil on canvas Oil on canvas Oil on canvas Oil on canvas Oil on canvas Collection of Jeannette de Vigier Private Collection Private Collection Private Collection Private Collection Private Collection Collection of Jeannette de Vigier Private Collection Sponsored by Russell Kaplan Auctioneers 12 TRETCHIKOFF THE PEOPLE’S PAINTER 26 MAY – 25 SEPTEMBER 2011 | IZIKO SOUTH AFRICAN NATIONAL GALLERY 13

64. 65. 66. 67. 76. 77. 78. 79. Merry Widow Unfinished Portrait of a Woman Unfinished Portrait of a Woman Ambassador’s Wife Lenka Mimi in Pigtails Natalie (Artist’s Wife) Mimi (Artist’s Daughter) [ca. 1976] Undated Undated Undated [1945] [1947] [ca. 1946] [1952] Oil on canvas Oil on canvas Oil on canvas Oil on canvas Chalk on paper Sanguine chalk on paper Oil on canvas Sanguine chalk on paper Private Collection Private Collection Private Collection Private Collection Collection of Yvonne du Toit Private Collection Private Collection Private Collection

68. 69. 70. 71. 80. 81. 82. 83. Portrait of an African Man African Woman with Turban North African Woman Javanese Woman Natalie Forest Fire The Storm Neck and Neck Undated 1950 1951 1949 1947 Undated Undated 1962 Oil on canvas Oil on canvasboard Oil on canvas Oil on canvasboard Sanguine chalk on paper Oil on canvas Oil on canvas Oil on canvas Private Collection Private Collection Private Collection Private Collection Private Collection Private Collection Private Collection Private Collection

72. 73. 74. 75. 84. 85. 86. 87. Javanese Woman Artist Reshada Crouse Self-Portrait Portrait of Jean The Race Zebra Mother and Foal Fighting Zebras Fighting Zebras Undated Portrait of Tretchikoff 1945 1952 Undated Undated (artist’s working sketch) Undated Oil on canvasboard [1988] Sanguine chalk on paper Sanguine chalk on paper Oil on canvas Oil on canvas Undated Oil on canvas Private Collection Oil on canvas Collection of Yvonne du Toit Private Collection Private Collection Private Collection Pencil on paper Private Collection Collection of the Pretoria Art Museum Private Collection 14 TRETCHIKOFF THE PEOPLE’S PAINTER 26 MAY – 25 SEPTEMBER 2011 | IZIKO SOUTH AFRICAN NATIONAL GALLERY 15

88. 89. 90. 91. Zebras Standing in the Water Two Egrets Fish Feeding Time Undated Undated [1972] Undated Oil on canvas Oil on canvas Sculpture: Amethyst and Oil on canvas Private Collection Private Collection 18 carat gold Private Collection Private Collection

Acknowledgements

92. 93. Wildebeest The Charcoal Forest Sponsors Special thanks are conveyed Ndhlovu, Department of Institutional Undated [1949?] Iziko Museums to the following individuals Advancement, Department of Education Oil on canvas Oil on canvas Private Collection Private Collection City of Cape Town Bronwen Shelwell (Graham’s Fine & Public Programmes and Department Department of Arts and Culture Art), Melanie Mahona (Department of of Finance Department of Economic Development Tourism and Economic Development), Art Collections: Riason Naidoo, Andrea and Tourism Phillippa Duncan (Stephan Welz & Co.), Lewis, Joe Dolby, Robyn-Leigh Cedras, Elliott’s International Art Relocation Emma Bedford (Strauss & Co.), Russell William Visagie, Majiet Isaacs and GAC Laser Jones (ScanShop) and Yvonne du Toit. Angela Zehnder. Lemnis Lighting Africa Dates and Titles The dating of Tretchikoff’s work is an exceptionally tricky business, complicated by a number Department of Institutional Rupert Foundation Independent Project Team of Works of factors. After the mid-1950s he rarely dated his paintings, nor included dates in his coffee Advancement: Susan Glanville-Zini, SARS Marianne Fassler, Natasha Swift, table publications and portfolios. For undated works one of the better sources are contemporary Pamela Court, Melody Kleinsmith and Gabrielle Guy, Hannah Lewis, newspaper articles but even this is not foolproof as the date of first exhibition does not always Marcia Marais. The following lenders Renée Holleman. lead one to the date of composition. Stylistic evidence can help but also can be misleading. Photographs of works 01, 02, 05, 07, 09, 13, 14, Pretoria Art Museum, Sanlam Art 15, 19, 21, 24, 26, 28, 32, 36, 42, 44, 49, 50, 59, A work that at first glance seems to be from the 1970s can in fact be much earlier. Where Collection, Yvonne du Toit, Jeannette Iziko Museums 63, 70, 78, 81, 82, 84, 85, 92 by Carina Beyer, reasonable certainty is possible a year or time period has been provided for undated works Iziko Museums Photographer. Additional de Vigier, and numerous anonymous The CEO Rooksana Omar, Executive photographs by Pam Warne. Images courtesy in square brackets. In all other cases the fact that the work is undated is indicated. Titles also private collectors. Director: Core Functions Mr Bongani Iziko Museums. provide a challenge as Tretchikoff is known to have used more than one title for a given work and also used the same or similar titles for different canvases (e.g. Zulu Maiden, Proteas, Crayfish Seller, etc.). Generally the titles here are taken from documentary sources in the Tretchikoff Archive, newspaper reports and the titles indicated in the artist’s own publications. Tretchikoff e People’s Painter is dedicated to Pam Lamprecht and Mimi Mercorio (née Tretchikoff).

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